Late modernism is often questioned as to whether it differs in any way from the modernism period. This period describes a movement that arose from the modernist era and reacts against it, by rejecting its’ great narratives and abolishing the barriers between the traditional forms of arts, in order to disturb the genre and its literary production. The late modern writing explores mortality, the flaws of culture and also the potential aesthetic form. Writer William Faulkner, is seen as a modernist writer that uses an elaborative writing model where all stances are ambiguous and for introducing irony and humor in his literary constructions. Faulkner addresses in his writing freedom of expression and individualism, which are a clear break in the traditional and outdated formal model of writing that describes the creative strategies and the specific style that portrays him as a late modernist.
In his plays Shaw had tried to depict contrasting views on the nature of human being for the sake of dramatic effect. It is obvious that his purpose was aware his reader and make them realize their individual identity and he was not a critic but he just try to give his message through his writings. He was criticized by the critics because he had chosen a totally different style of writing as compare to other writers of his age. But if we go through his great works we would come to know that G.B Shaw’s social reformation is hidden in his rebellion
The text is interpreted after analysis of mind of an author, unlike other types of criticisms that are concerned basicaly with text itself. This combining of literary and psychological aspect brings a unique approach. Psychoanalysis is „a discipline founded on a procedure for the investigation of mental processes that are otherwise inaccessible because they are unconcious“. (GEORGE, 2011) Freud believes that society reaches its unconscious aspect by the means of art, means of creative process. Psychoanalytical approach seeks for what is hidden behind words and reveals author personality and mind.
Cummings: The Technique of Immediacy by S.V. Baum caught attention to what others actually think of Cummings, away from Norman Friedman’s view. In contrast, Baum explains that each time a protest becomes necessary, several lines are wrenched from a poem by Cummings to furnish conclusive proof that his is the work of a trickster who delights in offending sense; the poetic sample offered for examination is invariably a jumble of disjointed words and scattered punctuation (104). Baum argues with Friedman’s view on how Cummings poems brings special meaning with misuse of English. Looking at this view will help question whether there is a meaning in poems with misused capitals and punctuation.
The paper illustrates that Marvell wears the mask of hedonism in an attempt to try his hands in the hedonistic theme or the contemporary carpe-diem motifs which are at odds with Marvell 's spiritual attitudes. This conclusion could not be reached without examining the available biographical and historical background of the poem. The paper also examines the text of the poem from stylistic, biographical and historical perspectives which were subordinated in traditional critical studies which targeted the text. As a whole, the
In many ways, postmodernism is perceived as a direct contrast to modernism and postmodern artists embody a large sense of rebellion seen explicitly in their works. (Postmodern Powerpoint) In terms of literature, writers during the postmodernism period used a lot of play and irony as the main themes and juxtaposed fiction with non-fiction. (Postmodernism Powerpoint) For example, in Kurt Vonnegut’s Slaughterhouse Five, the reader finds that the main
The fictional world is full of chaos, as people tend to prefer unstable theories to countless philosophies. Specifically, there is a literary shift from linearity and order to randomness and fragmentation. Consequently, Postmodernist writers understand that their works are subject to interpretation; however, they believe that the flexibility of understanding in texts is the basis for the development of innovative ideas in society. Moreover, Kurt Dinan writes in a nonlinear, flexible fashion by writing with a component of Mystery. Subsequently, the reader can make different predictions on what will occur throughout Don’t Get Caught, and the ability to predict and analyze uniquely is one of the principal ideals of Postmodernist literature.
Nihilism in Samuel Beckett’s ‘Waiting for Godot ' T.Nandini Department of English ABSTRACT Martin Esslin writes very lucidly about how the theater of the absurd works like poetry rather than narrative. Traditional narrative drama tells a story, develops dynamically. The characters grow and change before our eyes, and that is the point of the story-to reveal that growth, that change. We reflect on why it happened, what it implies, how we relate to it ourselves, what it means. But the theater of the absurd doesn 't aim for traditional narrative because it rejects such narratives as too artificial, too contrived.
They set a protest against the consumer society. “…artists pared the art object down to elementary, unadorned, ‘poor’ prepositions and gestures.” (Christov-Bakargiev, C. 2005: 20) The conception of aesthetics in art was deconstructed into the new world of understanding the beauty of human’s body, behavior, characters and instincts. The artists used a wide range of different techniques to explore the possibilities of art and to avoid particular style. The incoherence was introduced in a positive way, as well as understanding of subjective matter and space. The dimensions of the human body were often used as a scale of an artwork.
Before Arnold a literary critic cared only for the beauties and blemishes of works of art, but Arnold the critic chose to be the teacher and protector of public opinion and propagator of the best ideas. In ‘The Function of Criticism at the Present Time,’ Arnold defines criticism, details his roles, and also lays down the fundamentals of a competent critic. His view of criticism must be accessed in the perspective of the degenerate and disorganized state of contemporary criticism. He found ‘cultural anarchy’ everywhere, and his avowed mission was to bring about cultural regeneration. Matthew Arnold argues it is criticism that has influenced non-English literature and that this is applied using all types of knowledge including theology, history art and even science in order to probably see things for what they are.